SKU: BR.PB-5714

ISBN 9790004216514. 10.5 x 14 inches.

More than my earlier works, this one is interspersed with metrically bound rhythms and musicianly characters that constantly recrystallize and drift towards or away from familiar situations.The familiar: These are dance-like figures and music-making formulas, but also songs and, in two cases fragments of Bach's music - playfully collected memories of impressions in which - consciously and unconsciously - I am embodied with that collective comfort in whose protection bourgeois thinking and feeling, magically protected, grow up and emerge apart.(It is well known that such security has its fetishes from the childlike to the adult stage: Home, religious bond, holidays, tradition, longing for childhood - the superficiality may have little idea of the depth that opens up underneath. There is also no question that we are still marked by such security even when the contradictions and alienation of existence force us to step out of their protection, to recognize and act upon reality, and to oppose the domination of such inner bonds where their original truth has become the fatal untruth of comfortable illusion, stubbornly and fearfully conjured idyll and reactionary narrow-mindedness.My music feeds on figures in which such memories are encapsulated. It deals with them not much differently than in other pieces with the elements of the traditional musical concept of material, having already always reflected compositionally as a product of sociality and anticipation of musical expression, i.e. it moved into a structurally expanded context and expressively redefined from there.Such an approach aims at overcoming lack of freedom: grasping as part of conceiving, i.e. not philosophical reflection, but rather an artistically gripping reflex by intervening in the physical immediacy of such predetermined elements. These penetrate and infect the structural events, inducing a musicianship that cannot be relied upon; the music jumps onto rhythms like onto moving vehicles, allows for being carried by them until they deform or disintegrate. This creates an incline of rhythmically shaped situations: sequence and interweaving of dances and structures.The role of the solo string quartet is versatile, obbligato and concertante, leading and accompanying in a changing sense. Set as a chamber music apparatus in an orchestral landscape, it repeatedly forces its own sound dimensions onto the orchestra, it must accept being drowned out at times, it nests in the holes of tutti fields, it acts as a louse in the fur, forcing one to listen in and out.The Tanzsuite with Deutschlandlied is structured as follows:I. Section. 1. Introduction - 2. Waltz - 3. March - 4. Bridge -II. Section. 5. Siciliano - 6. Capriccio - 7. Valse lente -III. Section. 8. Bridge - 9. Gigue - 10. Tarantelle - 11. Bridge -IV. Section. 12 Aria I - 13 Polka - 14 Aria IIV. Section. 15. Introduction - 16 Gallop - 17 Coda (Aria III)All 17 parts merge into one another.(Helmut Lachenmann, 1980)CDs/LP/DVD:Arditti-Quartett, Deutsches Symphonie-Orchester Berlin, cond. Olaf HenzoldCD Montaigne Auvidis MO 782019Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain Cambreling (Excerpt)CD BMG/RCA 74321 73510 2 (Musik in Deutschland 1950-2000)Berner Streichquartett, Sinfonieorchester des SWF, cond. Sylvain CambrelingLP DMR 1028-30Arditti Quartet, SWR Sinfonieorchester Baden-Baden und Freiburg, cond. Hans Zender Excerpt on CD ,,Auswahl von zehn Urauffuhrungen aus 70 Jahren, SWR Sinfonieorchester Baden-Baden und Freiburg Arditti Quartet, Staatsorchester Stuttgart, cond. Sylvain Cambreling DVD ,,Lachenmann-Perspektiven 6 (Breitkopf & Hartel, BHM 7816) Bibliography:Cavalotti, Pietro: Differenzen. Poststrukturalistische Aspekte in der Musik der 1980er Jahre am Beispiel von Helmut Lachenmann, Brian Ferneyhough und Gerard Grisey (= Sonus. Schriften zur Musik, hrsg. von Andreas Ballsteadt, Band 8), Schliengen: Argus 2006, pp. 79-128.Das sind doch alles Deutschlandlieder! Helmut Lachenmann im Gesprach mit Michael Rebhahn, in: Der Taktgeber. Das Magazin der Jungen Deutschen Philharmonie, Heft 40 (Sommer 2019), S. 6f.Stawowy, Milena: Fluchtversuche in die Hohle des Lowen. Helmut Lachenmanns Tanzsuite mit Deutschlandlied, in: MusikTexte 67/68 (1997), pp. 77-90.Toop, Richard: Concept and Context: A Historiographic Consideration of Lachenmanns Orchestral Works, in: Helmut Lachenmann Inward Beauty, hrsg. von Dan Albertson, Contemporary Music Review 23 (2004), Heft 3/4, pp. 125-144.

World premiere: Donaueschingen (Donaueschinger Musiktage), October 18, 1980.

SKU: HL.49001249

ISBN 9790001013772. German.

SKU: HL.49001251

ISBN 9790001013796. German.

SKU: HL.49001252

ISBN 9790001013819. German.

SKU: HL.49001250

ISBN 9790001013789. German.

SKU: HL.49025866

ISBN 9790001013802. German.

SKU: HL.49006244

SKU: HL.49008044

ISBN 9790001112888. UPC: 073999696097. 9.0x12.0x0.125 inches.

Dancing Flute contains ten pieces based on characteristic dances of various countries, such as Germany, USA, Great Britain, Australia and Mexico. These tuneful and lively piece are easy and equally suitable for amateurs and students. Mucki, Tanzintermezzo (Deutschland) * White Lady, Milk Cocktail (Grossbritannien) * Country Lily, Western Melody (Australien) * Santa Monica Blues (Kalifornien) * High School Dixie (USA) * Latin Ballad (Mexico) * Farmer Boy (Kansas City) * Michail (Russland) * Sunday Party (New Orleans) * Tiberias (Israel).

SKU: VD.978-3-86846-120-6

SKU: HL.49017723

SKU: HL.49001925

ISBN 9790001024914. 9.0x12.0x0.741 inches.

Henze composed these dances, which can be scored for various instruments, for the orchestra of the conservatory of Deutschlandsberg (Austria). These compositions are based on an anonymous Morissa (Spanish designation for a dance form probably introduced by crusaders) from the English Fitzwilliam Virginal Book.

SKU: BT.1552-08-140-MS

9x12 inches. English-German-French-Dutch.

De discogroep Boney M, opgericht door de Duitse platenproducer Frank Farian, was een groot internationaal succes in de jaren zeventig, met name in Europa. De drie exotische dames en de bijzondere verschijning Bobby Farrell, met zijnopvallende dansstijl, hadden een geheel eigen, aanstekelijke sound. Deze medley voor harmonieorkest, waarin Stefan Schwalgin de hits Sunny, Daddy Cool en Ma Baker verwerkte, is een feest der herkenning.

Die Magie von Boney M“ breitete sich in den 70er Jahren wie ein Lauffeuer über Deutschland und Europa hinweg aus. Ganz oben auf der Discowelle schwimmend, brachte die von Frank Farian produzierte Formation mit unzähligen Hits - davon acht auf Nr. 1 in Deutschland - die Tanzböden zum Beben und noch heute erkennt jeder nach ein paar Tönen die Songs. Stefan Schwalgin verarbeitete drei Nr. 1-Hits in seinem Blasorchestermedley.

Quatuor jama co-antillais formé en 1976 Munich par le producteur allemand Frank Farian, Boney M. s’est imposé comme un pilier du phénomène disco des années 70. L’excellence des mélodies et des orchestrations ont assuré le triomphe phénoménal que remporta la formation en Europe avec des titres comme Rasputin, Rivers of Babylon, El Lute ou encore Daddy Cool, Sunny, Ma Baker rassemblés dans ce medley. Le groupe se sépare en 1985. Boney M. a vendu près de 150 millions de disques.